The Cause Of Ancient Chinese Costume Aesthetic Thought

As a form of culture, it runs through the history of ancient China.

From the evolution of clothing, we can see the vicissitude of history, the development of economy and the change of Chinese aesthetic consciousness.

Whether it is the "solemn and solemn" of the Shang Dynasty, the "orderly order" of Zhou, the "freshness" of the Warring States, the "dignified" of the Han Dynasty, the "lean" of the Six Dynasties, the "full bloom" of the Tang Dynasty, the "rational beauty" of the Song Dynasty, the "bold and bold" of the yuan, the "dainty and luxurious" of the Ming Dynasty, and the "delicate" of the Qing Dynasty, all of which reflect the aesthetic design tendency and ideological connotation of the Chinese ancient people.

But in a certain period of time, the aesthetic design tendency and aesthetic consciousness are not born out of thin air. It must be rooted in a specific era. In the complicated and complicated social reality, only when this particular aesthetic consciousness is placed in a specific social historical background can we see its original appearance.

First, the aesthetic consciousness of ancient Chinese costumes is deeply influenced by ancient philosophy.

The idea of "harmony between man and nature" is the quintessence of ancient Chinese culture. It is a philosophical view accepted by Confucianism and Taoist two. It is the most profound source of Chinese traditional culture. This concept has produced a unique design concept, that is, all kinds of works of art are regarded as products of the whole nature, and the design of handicrafts is viewed from a comprehensive and holistic viewpoint, and clothing is no exception.

This concept of design has been recorded in the first book of Chinese craft book "Kao Gong Ji". "Kao Gong Ji" says, "sometimes the sky is sometimes angry, the material is beautiful, the work is skillful, the four are the same, and then it can be good."

As early as two thousand years ago, Chinese craftsmen realized that the production of any process design was not the result of isolated human behavior, but the result of the combined effects of various conditions in the large system of nature.

Weather is seasonal climate conditions, geo gas refers to geographical conditions, material and beauty are the performance conditions of technological materials, while skilled labor means technological conditions.

For clothing, it refers to the season of clothing, the environment of dressing, and the texture and tailoring of fabrics. Only these four are harmonious and unified.

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The book of changes affirmed the unity of man and nature, and affirmed the mingling between man and nature, that is, man is not only a natural product, but all human activities, from moral cultivation to utilitarian practice, must follow the natural enlightenment, and be restricted by natural laws, and the natural factors are also permeate human factors.

Nature itself often has the enlightening significance of social morality. There is often no gap between man and nature. The two influence each other. People and nature follow the law of unity. Naturally, heaven and earth also possess human social attributes, and at the same time contain ethics related to personnel.

In ancient Chinese philosophers' view, man is the unity of form and spirit, that is, the unity of body and spirit. This is an indivisible whole. Therefore, neither Tao nor Confucianism advocates the merger of spirit and body, the combination of beauty and goodness, and clothing is the embodiment of aesthetic harmony and the outward manifestation of natural expression between human beings and objects.

(body language), in the Wei and Jin Dynasties, the seven bodies of the Seven Sages of the bamboo grove were unruly and heavy, and they were heavy in spirit and left behind bones. Therefore, they often showed no restraint in dress, no matter how they stood, and they were always very casual.

"The new words of the world say": "Liu Ling took a ride in a deer car and indulge in wine and debauchery".

Two, the ideology formed on the basis of certain economy has a direct impact.

Aesthetic thought

In the spring and Autumn period and the Warring States period, because of the hegemony of the seven heroes, they had led to a hundred schools of thought contending, resulting in Confucianism, represented by Confucius and Mencius, Taoists represented by Lao Zi and Zhuang Zi, as well as schools of ink and law.

If Confucianism advocates "Charter and civil military" and "covenant with etiquette", Mohist advocates "economizes", "food is always full, then seek beauty, clothes will keep warm, then seek beauty, then live in Chang An, then seek pleasure". Han Feizi, while negating God's ghosts and gods, advocates that clothing should advocate nature and oppose decoration.

"The Huainan sub - view and training" contains "the late days, the seven nationalities, the princes system, and the customs."

Records of the various controversies at that time and the true situation of the special period of autonomy of various countries were recorded.

The Wei and Jin Dynasties were the most personalities of the generation with aesthetic consciousness. "The band of praise" was the most popular dress in the Wei, Jin, southern and Northern Dynasties, especially among scholars.

Wei and Jin Dynasties were the most chaotic times in the history of economy and politics. But in spirit, they were extremely free and most enthusiastic.

The literati wanted Jinxian to be afraid of the ups and downs of the official seas, and had to be detached from themselves. Besides indulging in wine and music, they sought for catharsis on clothing, proud of the pride of the world, so they had big sleeves and big arms, and during the Wei and Jin Dynasties, they advocated the metaphysics.

The most famous bamboo grove Seven Sages advocated the Taoist's "naturalistic thought, attacking the hypocritical Confucianism, but also disparaging the imperial court and being unofficial."

In the costumes, they display their bare arms and their feet to show their manners.

"Wei Jin Ji" contains: "Xie Kun and Wang Chengzhi's disciples of bamboo people, scattered head hair, naked in the sky, called the octopus."

Search for the body wrote: Shinmoto Yasunaka, you travel children, and to distribute the naked drink.

The naturalistic and individualism of this personality is free from the ritual constraint of Confucianism in the Han Dynasty. People appreciate the beauty of their personality and respect their personal values.

In the new words of Shi Shuo, the records of "Fei Ling Jung Jung Yi", "take off the crown, make a rough head, are all good, and the time people think they are human" reflect vividly the aesthetic consciousness at that time.

If we say "Wei, Jin, southern and Northern Dynasties"

"Is a kind of internal spirit release, is a personality standard, weary of clothes and heavy nature, and the Tang Dynasty costumes are the release of beauty, the bold pursuit of beauty, the gorgeous and heavy decoration of their costumes, and the opening of women's dresses.

Zhou Shi: it is like the most bold appearance of ancient Chinese costumes, which shows the degree of openness of Tang people's thinking.

The fashion trend of the Tang Dynasty followed the longest fashion. It is obvious that in the May song of Yanjing, "pomegranate flowers are burning, and the branches are bent."

The hundred birds skirt of the princess of peace is a masterpiece in the history of Chinese weaving embroidery, which is copied by the officials and women, resulting in the destruction of the mountain forest and strange birds, and the search for hills and valleys.

The style of dress is inseparable from reality. The Tang Dynasty prospered economically, developed handicrafts and made frequent exchanges with the outside world. It was widely known as "Paris" in ancient China.

In Tang Dynasty, new aesthetic factors and colors were added to any dynasty. The aesthetic interest in the Tang Dynasty was reproduced from the earlier stage, objective and heavy to the form of the subjective, rhyme, and feminine beauty.

In the historical process of the late turn of the Tang Dynasty, people's social consciousness and mental state also underwent profound changes. "The original passion for upward and upward enthusiasm has gradually been replaced by worries and worries. The earlier exploration and feeling of the active external world gradually changed into a passive feeling and experience of the inner spiritual world.

So that the vigorous and genuine masculinity in aesthetics has to give way to the subtle and hazy shade of Yin. "(from the aesthetics of Six Dynasties") this change in aesthetic tendency is closely related to the background of the Tang Dynasty's flourishing economy and the background of the whole nation's singing of the Buddha's law.

During the Song Dynasty, the Song Dynasty was influenced by Cheng Zhu's Neo Confucianism, burning gold ornaments and simple tattoo to get the beauty of simplicity and elegance, while the Ming Dynasty was the most prosperous Dynasty in the history of ancient Chinese costume development, and the dress was gorgeous and unadornment.

This is because the Ming Dynasty has entered the late feudal society, feudal consciousness tends to autocracy, tends to advocate gorgeous and beautiful, tends to pursue the peace and auspicious blessing.

Therefore, in the Ming Dynasty, embroidery was auspicious in fashion.

In addition, the emergence of capitalism in the middle of the Ming Dynasty, the flourishing handicraft industry and frequent external exchanges made the costumes colorful and colorful, and formed a luxurious atmosphere. At the end of the feudal society, western culture gradually spread to the East, and foreign students wore long gowns and Mandarin vests.

Three, "hierarchy" is the symbol of class society.

The influence of consciousness runs through the ancient society.

In ancient China, the hierarchy was strict, and influenced by the "rite" of this rank system, the externalization of the ancient dress culture as a social material and spirit was an important part of the "rite". To consolidate its position, the ruling class elevated the costume's function to a prominent position. Besides being able to dress, the costume was also regarded as a tool of distinction and distinction, and an image spokesman of the class society.

Clothing is just like a symbol. In ancient society, clothing has strict distinction. Different costumes represent a person belonging to different social strata. This is the expression of "rite".

In the book of rites, the level of dress is expressly stated: "the dragon of heaven, the dragon, the priest, the priest, the scholar's clothes, the crown of the emperor, Zhu Lvzao, ten, two, nine, seven, five, three.

"Zhou Li" records: "enjoy the first king, then the crown, indicating that the ceremony, the ceremony, the emperor hundred officials are wearing formal dress."

During the spring and Autumn period and the Warring States period, the hundred schools of thought also had a brilliant view of the "ritual" function of clothing.

For example, Confucius advocated "charter culture and martial arts" as etiquette, which is closely related to the image of the defender of the feudal hierarchy.

The function of "ritual" is also shown in clothing.

For example, Confucius once declared that "evil purple takes away Zhu Yi" (the Analects of Confucius Yang goods). Because Zhu is the right color and purple is the color, he wants to set the colors for everyone in the same color and color, so as to consolidate the hierarchy. In history, "Bai Yi", "Bu tou", "Zai Li", "Fei Zi", "Huang Pao", "Wu Ma hat" and "red top son" and so on are all examples of a certain color which has been attached to a certain dress for a certain position and identity in a certain period.

Almost every dynasty had relevant regulations on the color of clothing.

For example, "the clothing of Chinese Dynasties" records: the color of the Qin Han towel is "black for the common people, red for the driver, white for mourning, yellow for the sedan chair, green for the kitchen, green for the official, and green for the farmer."

Tang looked at the official rank in official costume.

"The thorns of the seeds are called the tribute of the countryside."

In the four years of the Tang Dynasty and the first year of the Shang Dynasty, Tang Zhenguan issued two imperial decree rules and regulations.

In the Qing Dynasty, the official costume was divided into Python numbers to distinguish official positions.

If the crown prince uses the apricot yellow, the prince uses the golden yellow, and the subordinate officials and other officials can not be yellow without reward.

Taking a look at the development of ancient Chinese costumes, we can clearly see the influence of ancient Chinese aesthetic consciousness on clothing in various dynasties. From the earliest functional shabby, the body, passing through the passage of time and the evolution of history, from the spokesman of hierarchical system to the symbol of personality later, it has gone through a long time, and aesthetic consciousness runs through it. Understanding this point is also beneficial to our modern fashion design. Only by grasping the pulse of fashion, absorbing the essence of traditional culture and understanding the aesthetic complex of modern people can we design the fashion quality of Chinese national costume.